The document discusses scenes and dialogue in storytelling. It defines a scene as an event involving compelling characters undertaking meaningful actions that feels real-time. Scenes should include complex characters, a point of view, advancing plot/character development through action and dialogue. Scenes have a beginning, middle, end structure and can start through character launches, action launches, or narrative launches. Scene middles introduce complications while endings reveal character or leave a cliffhanger. Dialogue should be written to show characters' emotions and advance the story.

1. Scenes and Dialogue

2. What is a scene?

A capsule in which compelling characters undertake
significant actions in a vivid and memorable way that
allows the events to feel as if they are happening in real
time.

3. Scene ingredients

 Complex characters who undergo change;
 A specific point of view;
 Significant action that unfolds in real time;
 Meaningful dialogue where appropriate;
 New plot information that advances the story and
develops characters;
 Conflict and drama that tests and reveals your
characters;
 Rich physical setting.

4. 
 Beginning
 Middle
 End
Scene structure

5. Scene beginning

 Where are my characters in the plot? Where did I
leave them and what are they doing now?
 What is the most important piece of information that
needs to be revealed in this scene?

6. Ways to start a scene

 Character launch
 Action launch
 Narrative launch

7. Character Launch

 The majority of your scenes should involve your
main character;
 Make sure your readers know who your characters
are;
 Bring your main character into the scene as soon as
possible.

8. Character Launch

 What are the most immediate desires of your
characters? (especially the main character)
 Who will help your characters achieve their goals?
(especially the main character)
 Who will hinder them? (especially the main
character)

9. Action Launch

 Get straight to the action
 Hook the reader with big or surprising actions
 Be sure that the action is true to your character
 Act first, think later

10. Narrative Launch

 Use specific visual details
 Allow scenery to set the tone of the scene
 Use scenery to reflect a character’s feelings
 Show the impact of the setting on the character

11. Scene Middles

 Introduce complications that reveal the characters
and advance the plot;
 Complications can take the following forms:
 (1) withholding information, objects, or emotions;
 (2) putting your main character in danger;
 (3) revealing important information.

12. Scene Endings

 Character summary that reveals something about the
character;
 Dialogue that reveals something;
 Cliffhanger ending;
 Setting description;
 Philosophical reflection;
 Narrative conclusion.

13. Dialogue

“Hi,” she said.
“Hello,” he said.
“Did you have a good day?” she said.
“I sure did,” he said.
“Good,” she said.

14. Dialogue

“You’re red,” Jeanine said.
“A snake. I bought a snake,” I said.
“You bought a snake?” she said. “You bought a snake.”
“From Andy…,” I said.
“Oh my!” Jeanine said. “It’s in the box! You brought a
snake in here!”
“No, no,” I said.
“You can’t do this,” she said. “Not in my house.”

15. Dialogue

“You’re red,” Jeanine said quietly.
“A snake. I bought a snake,” I said hesitatingly.
“You bought a snake?” she said dryly. “You bought a
snake.”
“From Andy…,” I said tersely.
“Oh my!” Jeanine said loudly. “It’s in the box! You
brought a snake in here!”
“No, no,” I said gently.
“You can’t do this,” she said unhappily. “Not in my
house.”

16. Dialogue

“You’re red,” Jeanine said.
“A snake. I bought a snake,” I whispered.
“You bought a snake?” she exclaimed. “You bought a
snake.”
“From Andy…,” I responded.
“Oh my!” Jeanine shouted. “It’s in the box! You
brought a snake in here!”
“No, no,” I replied.
“You can’t do this,” she stated. “Not in my house.”

17. Dialogue

“You’re red,” Jeanine said when I walked in the apartment, my
arms slung around the huge box marked FRAGILE: EGGS.
“A snake,” I said. “I bought a snake.” The huge box shifted in my
arms.
“You bought a snake?” She sneered a bit, then turned a page in her
magazine. “You bought a snake.” Now she was saying it just to
hear herself.
“From Andy….” The bottom of the box was wet. My new snake.
“Oh my! It’s in the box! You brought a snake in here!” She was
screaming now, rising from the couch, arming herself by rolling
the magazine.
I turned from her. “No, no.”