10 Frequent Problems with Scenes (and How to Fix Them)
Let’s face it, a LOT goes into creating great scenes. Every scene in your novel has to do a lot of work, and it’s easy to get overwhelmed. Below is a checklist of the most common issues I see with writers’ scenes, and some brief suggestions on how to fix them. Each of these could be a blog post in itself (and probably will be) but it gives you a place to start in evaluating any scenes of your that fall flat, drag, or cause confusion in your readers.
1. No clear character goal for the scene – The protagonist, of course, needs a clear goal for every scene. It should relate to the major story goal in some way, but it may be a tiny piece of it. Or, it might even be a step backwards – a denial of the need to take action toward the overall goal, or trying to wriggle out of the responsibility. Also, all characters in the scene need to have their own goals, that either support or hinder the main character’s goal. THE FIX: Give the protagonist, and each speaking character, a goal for the scene. One you start thinking in terms of knowing all the characters’ goals, your scenes will start to have new life.
2. The scene starts too early – Figuring out where to start a scene can be a challenge. You don’t want to start with a long explanation of what led up to the scene or readers will get bored wondering when something will happen. THE FIX: It should generally be at the moment of the inciting incident for the chapter – the thing that kicks off the scene. Something happens, someone enters, new information is being acted upon.
3. There is no arc of transformation – As I mentioned last week, every scene needs to mimic the story as a whole. After the inciting incident, you need the complications or turning point, a crisis, a climax, and a resolution. THE FIX: Make sure something changes as a result of all this. The situation, or the character’s understanding, must be different in a way that leads directly to the next action the character will take.
4. There are no stakes, inner and outer – Again, as I mentioned last week, it’s crucial that something is at stake in every scene. It doesn’t always have to be world-ending stakes, of course. It just has to mean something to the protagonist and/or their world. THE FIX: Relate the stakes to the character’s goal for the scene. If there are no stakes associated with the goal, it will be a dull, meaningless scene.
5. There is no conflict – Stuff just happens. There’s no tension. THE FIX: Remember, conflict can take many forms: character vs. themselves; character vs. character; character vs. setting. Make sure you have at least one form of conflict in each scene.
6. The characters are wooden puppets of the plot – There’s no clear emotional arc of change. THE FIX: Let the reader see how their past affects the present beliefs and actions. Let us see the protagonist change as a result of what happens in the story. Let their beliefs, misbeliefs, and actions drive the story forward.
7. The protagonist is too passive, or too competent – There’s no struggle. Or they’re too incompetent - they do dumb things for plot service. THE FIX: Don’t be afraid to make them suffer! Readers love to see characters fight for what they want.
8. There’s too much “distance” in the narrative – We're not in the character’s head, seeing it from their point of view. THE FIX: Realize that today’s readers tend to like to be close to the character’s perspective, whether it’s written if 1st or 3rd. Use narrative distance sparingly.
9. The setting is nonexistent or unclear – This could be the physical setting, or a lack of other people around when it would be normal to have things happening around the main characters in the scene. Sometimes characters seem to be floating in space and time, with no connection to the world around them. THE FIX: Make sure what’s clear in your head is actually on the page. Specific details bring the scene to life.
10. Too many info dumps – in narrative or dialogue. When you’re describing setting or other details, it can be easy to go overboard. THE FIX: Weave specific, necessary details into the action so they are seamlessly integrated and don’t take the reader out of the story. In dialogue, avoid the “as you know” speech: “As you know, Mike, we always keep the door locked, and Roberta is the only one that has the keys, moreover, our closing process, which you know is...” Snore.
There you have it! Ten scene problems, and the ways to fix them.
IMPORTANT: Don’t stress too much about all this in a first draft. As you gain competence as a writer, your scenes will get stronger, even in the first go-round. But you really just want to get the bones of the scene down to start. You can fill in the finer points later. This checklist will help you make sure your scenes are as strong as possible, carrying their weight to drive the story to a satisfying conclusion.
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