Multiple Use Scenes

In the first draft, it’s common for one scene to serve one purpose. To introduce the main character, for example, or to show an event which complicates the hero’s path. All well and good. And necessary in a first draft. However, as you get into the editing, you want to look for ways to tighten the story and create more depth. One way is to have some scenes do multiple duty.

Multiple scene mash

I want to do an example but without great long passages. So, I will give you a short description of some individual scenes, assuming they are all show.

Separate scenes

Scene one: Lauren is bad-tempered and malicious. She will stop at nothing to get her way.

Scene two: Abby’s mother is in intensive care and Abby tries to get away from work early every day to see her.

Scene three: Lauren and Abby work in a high pressure work environment with a hard-driving boss.

The amalgam

Lauren tells the boss that Abby is missing deadlines, omitting to mention that Abby’s mother is ill.

Seems pretty simple, but if you do this one scene, you will have established Lauren’s character, Abby’s situation, and the work environment. While you probably need to fill in a bit more than I am depicting, the combination nevertheless provides a much more interesting event than the three separate ones. And may even generate a sub-plot which hadn’t been evident keeping things separate.

Which scenes?

Good question. It will not be as easy or obvious when you are reviewing your own manuscript. Which scenes you combine will depend on the plot. But there are some possibilities:

Use of the same setting. If you place the characters often in the same location (e.g. office), you might be able to mash a couple of events into one scene.
Repetition of character trait. Sometimes, you have shown what your character is like with more than one secondary character. You can either cut the extra scene or put the secondary types in the same scene so your character can establish himself to all audiences.
Too many plot points/too many characters. I put these two together because often a character represents a plot or sub-plot. If you think there are either too many plot points or characters to keep reader interest, either cut out the least important ones or amalgamate them.

A stumbling block

One thing might get in your way as you strive towards a more layered and/or complex version of your novel. You.

Writers have a bad habit of falling in love not only with their story but also with how it is written. Without knowing it, everything becomes Deathless Prose and therefore inviolable.

My advice: Get Over Yourself.

I can hear you saying, “But it’s such a lovely scene—did you see how I brought the analogy full circle?”

Yes, I’m sure that it is but remember that readers do not live on exquisite moments alone. Most want a well-constructed plot with interesting and complex characters and a satisfying ending. Exquisite moments will also be appreciated but in addition to, not instead of, the basics.

(Sorry and as always, this doesn’t apply to works where beauty of language is the main objective.)

In short, this is the time to be ruthless. Cut, amalgamate, rewrite. Be your own Attila the Hun. Put away your ego so that you can dedicate yourself to the service of the story and your reader.

The tale is about?

When you’ve finished the first draft of your novel and looking to strengthen it and even lengthen it, who or what your tale is about is a good question to ask. This may seem quite simple-minded. You might think, “Well, my tale is about Minisha because she’s the main character.”

You’d be right, of course. Your novel has taken Minisha in a particular direction. She might have traveled to experience the world. She might have never left town, but longed to. Or she didn’t want to leave—just more leeway from a strict mother. Any of these and many others could be interesting paths.

Who/what the story is about shapes choices

I am a great proponent of just writing whatever comes up. Minisha meets a smarmy charmer. She almost gets run over in the street. She realizes that she can tackle the mountain after all. Whatever interests you.

But somewhere near the end of the first draft or when you are editing, you need to consider who or what the novel is really about. For example, is the story about Minisha discovering who she is on her journey (whether physical or mental) or is it about her romance with the professor she meets along the way?

Which path you choose can and should shape your thoughts on what scenes can be kept; which deleted; and which rewritten or reoriented.

The novel is about self-discovery

So, let’s say you’ve decided that the novel is primarily about Minisha’s self-discovery. Review your scenes to ask questions like:

The romantic scenes are appropriate still but do the number, length or even emotional impact of these scenes outweigh those of the self-discovery? If they’re very prominent, does the relationship overshadow the self-discovery?

How do you make the self-discovery more show than tell? This is an important way to signal your main theme. What does she DO which indicates her changes? Much of self-discovery happens in the character’s mind. But can you have her taking a physical risk or buying clothes more fashionable than she usually buys? This can show increasing self-confidence.

The story is about love

But what if the story is primarily about falling in love? You might ask similar questions:

Can you/do you want the self-discovery to revolve around the falling in love? E.g. she didn’t realize she could be lovable; she is getting in her own way in romance. If so, do you need to tone down the angst and revelation around her faith or career?

How much of the self-discovery do you need to show on stage, as it were? Slowing down enough to give a thorough picture of the internal struggle Minisha is undergoing should be compelling and hopefully, more intense than the scenes about the love interest.

Tag: rewrite