Do not Pass Go, Do not Collect $100
by Suzanne Cordatos
www.suzannecordatos.blogspot.com
What is the fastest way from Point A to Point C? Generally
speaking, a straight line through Point B does the job. Like pawns in a board
game, characters move from one point to another around the story—but their
writers should be warned. Mobilizing a main character from the breakfast table to
school to a post-game pep rally should not, literally, take all day.
I’m a wordy writer. My first drafts are complicated affairs
with blow-by-blow action determining what each limb is up to (“with one hand,
the protagonist did x but with the other, he did y!) and so on. Boring! It is
not necessary (or desirable) to report every turn of the doorknob between Point
A and Point C (unless, of course, the knob-turning is a vital part of the
suspense you are creating).
Is it part of the game? If not, skip it. A bored reader is not a page-turning reader. A bored reader
is not a book-buying reader. The writer holds the cards. In the game of
Monopoly, for example, Chance cards
direct players to skip entire sections. Go to Jail. Go directly to jail. Do not
pass GO. Do not collect $100. Translation for writers? Imply action.
Scene Breaks
A few extra lines of white space separate one scene from a
new one, marking the passage of time, a change of location, mood, end of
thought, and a new beginning of some sort. Anyone who has been to school knows that a locker scene or cafeteria scene implies a school day. No need to talk about Period 3. It gives readers a rest for the eyes,
permission granted to put the book down for a snack—or better, a chance to anticipate
what might happen next.
Section breaks
Three asterisks (or other simple art) centered above the
break indicates a stronger change than time, mood or location. A section break
is more definite and is often used to mark a different character’s point of
view. It keeps the momentum of a chapter going but lets the reader see it from
another angle. Next time you read a book that moves along at a good clip,
notice scene and section breaks. Chances are excellent the writer is using them
to great effect.
Practice “Writing down the page”
Brainstorm your protagonist’s next move in a quick list is another technique to speed things up. Without bothering to write out complete sentences or scenes, you'll see where the ideas take you. Quickly list the steps of a scene down a page. Bogged down with details? Determine which are necessary to the plot, which can be implied. Skip some, imply some, move it along. Now, you're ready to write out your game-changing sentences.
Brainstorm your protagonist’s next move in a quick list is another technique to speed things up. Without bothering to write out complete sentences or scenes, you'll see where the ideas take you. Quickly list the steps of a scene down a page. Bogged down with details? Determine which are necessary to the plot, which can be implied. Skip some, imply some, move it along. Now, you're ready to write out your game-changing sentences.
Breakfast table to
School to Pep Rally Writing down the
page lists prove that my character's day has too many details that prevent the
reader from getting to the exciting pep rally. Forget Mom’s complete breakfast
of scrambled eggs, toast with butter and jam and a tall glass of milk if it not key to the story. Instead, the character throws on his backpack, grabs a muffin
and Mom’s hug and uses the bus ride to munch the muffin while mulling over his
hopes—and fears—for the pep rally. Next?
<<Scene Break>> Something happens at his locker during
the school day that foreshadows his hopes getting brighter—or fears getting
stronger.
<<Section Break>> From another friend or foe’s
point of view, we get another glimpse of the plans.
The reader is anticipating what will happen at the pep rally
in the next chapter!
Have you found it easy to imply action and move it along with scene/section breaks? How long are your chapters? Are you consistently using a few scene breaks per chapter or is it more random? I'd love to hear how you use these techniques in your writing.
