"You don't need to directly tell the reader what the character's goal is, because often the context can make it clear enough" - this. This just opened my eyes. I have been stuck at the beginning of a new chapter for days, and I believe this one line is about to help me get un-stuck. Thank you so much from the bottom of my heart!!! Also, the examples you have been giving help tremendously. I feel like you're using the "show don't tell" approach - the examples in books are showing how this or that is used, instead of just telling how it's used. I cannot state enough how much that helps me and my writing grow. I think it will help so many others, as well. Thank you so much again!
Unlike Story Structure, I had always found Scene Structure more intuitive and obvious. Learning about it feels more enlightening than I expected. It give me words for what I already understood.
Hey Ellen, I just wanted to say that I really enjoy your videos and they're incredibly helpful. I'm not even a book author, but a lot of your tips have universal story telling appeal. I, for example, use quite a few of your tips for the tabletop RPGs that I run. They're very helpful for thinking about the beats I want to invoke in a scene, how to play out and describe NPCs, and the overall potential storyarcs the players will stumble towards. I just wanted to thank you for the help you give out freely.
That's awesome! I'm glad the videos help! What do you play? I play Call of Cthulhu all the time! I've also played Inspectres several times, Paranoia once, and I'm going to be playing Kids on Bikes soon.
I played a lot of Ryuutama, Monsters and other childish things, and Dungeons and Dragons (2e and 5e) in college. But now I mostly dm d&d because it's what my friends where I live like to play. I've always wanted to play Paranoia, it sounds so interesting. Oh I've also played some Gurps, but I've never run it (it seems like kind of headache to set up). I've always really enjoyed RPGs, it's such an interesting blend of storytelling, gaming, and fun. But again, thank you, you're tips on story telling and how to make interesting and believable characters and scenes has had an impact on my games.
Very cool! I want to try D&D but I've been a bit daunted to learn it. I don't know anyone who knows how to DM. I'm hoping to try soon. I'm so glad the videos help!
Great video. I wonder if you can just enjoy reading a novel or you get distracted by errors you see as an editor. Anyway, I'm finding a new fascinating way to read books. Thanks for the content
Ellen, Every video i've watched from you has been helpfull, and some have lead me to a near Epiphany .the complex layers about the storywritting-telling is a sublime piece of psychological artwork. and you make it all seem to go so naturally. so , almost easy. . the thoughtproscesses you delve into are so filled with much subliemer information... DAMN! from now on i'm watching your videos on 0.75 speed. my brain needs time to cope with the speed of your train of thought (don't get me wrong , you speak with a perfectly clear intonation , and that intonation really captivates what your saying in my perspective, however my mind requires time to truly connect all the dots of all the truthfull 'crazy shit ' you're saying) You have my gratitude, my respect and ma love. I wish to you a life where you are free to work on your passions of life!!
This video is mostly about demonstrating how proactive scenes play out in published novels. For more specific information about proactive scene structure, check out my video series on scenes: ua-cam.com/video/TMYfWpjEYk0/v-deo.html
kbear Build it up. Develop the betrayer first, and his/her relationship with your character. Make him a dear friend, a mother/father figure, a lover. Make their scenes with your character lovable, make the reader really feel it. IMO, this is done best through strong interactive scenes, chiefly dialogue, which you should work on to the best of your ability. Though it might sound weird, when you're writing dialogue, say it out loud; I'm not kidding. Have the convo your characters are having, with yourself. If you can sense the flow of the convo, if it seems natural and has the right emotions behind it, then congrats, you've just written something your reader will feel too, and the betrayal will hit them like a train in the face when it comes. To quote Robert Frost; "No tears in the writer, no tears in the reader. No surprise in the writer, no surprise in the reader." If you feel it, then others will too.
creating a sense of conflict greatly differs from creating a proactive scene. In most of the scenes you mentioned, the protagonist is faced with some sort of problem and whatever he/she does next is merely a reaction to that problem, hence the proactivity aspect is absent.
I felt like how when Harry Potter changed goals, that was him being reactive not proactive. Maybe I just fail to see how they differ in that situation.
I'm at a loss over this. I've been reading this stuff about proactive vs reactive scenes, and I look at my own stuff, and the stuff written by others, and I don't see it. For example, in the beginning of my own book, the protagonist and her mother is baking bread, and the protagonist notices that the sun is already coming up, which means she has to hurry to her friend. Her mother asks her to take out the bread from the oven, but she doesn't have time to, as she needs to go right now. This very, very short bit could be seen as a "goal" (to leave the house in order to go to her friend) and a complication (her mother wants her to take out the bread from the oven). So why is or isn't this a scene on its own? It's literally only one page long, and about her stepping out of the house. She then goes on to try to sneak through the village, trying not to get caught by the patrolling guards. Since she isn't caught by the first few guards, she achieved the goal of those tiny scenes, against that complication of the guards? Then she is caught, and she has to bribe the guards. And I can look at this as a series of small scenes, or I can look at this whole event as one scene. Or, I can look at the entire story of the entire book as one scene, where there is a distinct goal that the protagonist is working towards, and a bunch of conflicts, similar to those guards. So just where are the actual scenes? If scenes are the smallest building block, then each guard she managed to sneak past is one successful proactive scene. That'd be absurd, wouldn't it? We can stretch this as far as saying "the protagonist wanted to go through the door, but the door was closed - and she successfully managed to open the door using the handle". Goal, complication, result. One scene?
This link might be useful to you. It talks about Dwight Swain's scene/sequels and motivation-reaction units: www.advancedfictionwriting.com/articles/writing-the-perfect-scene/
The Thing About Jellyfish is awfully ambitious to write in second person. I've never seen that in a novel with the rare exception of the narrator making asides to the reader.
JK Rowling huh? I've heard of her before. I should give that one a try. That whole thing with the poltergeist and kids duelling at night sounds pretty hardcore.
Beats me how you can quote that plagiarising Potter woman. She's lowered the bar. Now we are overrun with The Femme; the work, insipid, diluted; the Film Industry, a shining example. I'm sick of women "artists" thrusting their saggy vaginas in my face. It's time Art reclaimed its balls. Love and kisses. Alice. xx
"You don't need to directly tell the reader what the character's goal is, because often the context can make it clear enough" - this. This just opened my eyes. I have been stuck at the beginning of a new chapter for days, and I believe this one line is about to help me get un-stuck. Thank you so much from the bottom of my heart!!!
Also, the examples you have been giving help tremendously. I feel like you're using the "show don't tell" approach - the examples in books are showing how this or that is used, instead of just telling how it's used. I cannot state enough how much that helps me and my writing grow. I think it will help so many others, as well. Thank you so much again!
I'VE BEEN BINGE WATCHING ALL YOUR VIDEOS
Me too. Ellen is incredible.
Unlike Story Structure, I had always found Scene Structure more intuitive and obvious. Learning about it feels more enlightening than I expected. It give me words for what I already understood.
I like how in this boot camp series you are using lots of book examples :)
Found you a few days ago, immediately subscribed, now binge watching all your videos. Thank you so so much for helping us!
Hey Ellen, I just wanted to say that I really enjoy your videos and they're incredibly helpful. I'm not even a book author, but a lot of your tips have universal story telling appeal. I, for example, use quite a few of your tips for the tabletop RPGs that I run. They're very helpful for thinking about the beats I want to invoke in a scene, how to play out and describe NPCs, and the overall potential storyarcs the players will stumble towards. I just wanted to thank you for the help you give out freely.
That's awesome! I'm glad the videos help! What do you play? I play Call of Cthulhu all the time! I've also played Inspectres several times, Paranoia once, and I'm going to be playing Kids on Bikes soon.
I played a lot of Ryuutama, Monsters and other childish things, and Dungeons and Dragons (2e and 5e) in college. But now I mostly dm d&d because it's what my friends where I live like to play. I've always wanted to play Paranoia, it sounds so interesting. Oh I've also played some Gurps, but I've never run it (it seems like kind of headache to set up). I've always really enjoyed RPGs, it's such an interesting blend of storytelling, gaming, and fun. But again, thank you, you're tips on story telling and how to make interesting and believable characters and scenes has had an impact on my games.
Very cool! I want to try D&D but I've been a bit daunted to learn it. I don't know anyone who knows how to DM. I'm hoping to try soon. I'm so glad the videos help!
Great video. I wonder if you can just enjoy reading a novel or you get distracted by errors you see as an editor. Anyway, I'm finding a new fascinating way to read books. Thanks for the content
Eduardo Garin I’d assume it’s the same as it is for writers. E.g., “was /that/ supposed to be a midpoint? *sigh* Plebeians.”
Ellen, Every video i've watched from you has been helpfull, and some have lead me to a near Epiphany .the complex layers about the storywritting-telling is a sublime piece of psychological artwork. and you make it all seem to go so naturally. so , almost easy. . the thoughtproscesses you delve into are so filled with much subliemer information... DAMN! from now on i'm watching your videos on 0.75 speed. my brain needs time to cope with the speed of your train of thought (don't get me wrong , you speak with a perfectly clear intonation , and that intonation really captivates what your saying in my perspective, however my mind requires time to truly connect all the dots of all the truthfull 'crazy shit ' you're saying) You have my gratitude, my respect and ma love. I wish to you a life where you are free to work on your passions of life!!
This video is mostly about demonstrating how proactive scenes play out in published novels. For more specific information about proactive scene structure, check out my video series on scenes: ua-cam.com/video/TMYfWpjEYk0/v-deo.html
Have you read all the books behind you?
What's the total number of books in your library?
Those are all the books she has rejected as an editor, she collects them as trophies.
i just found thiss video, i really enjoyed it.
Proactive characters has always been a strength for me. Looking forward to reactive tho.
I'm so glad you're back!
I love your videos so much!!! This was awesome and all those examples are perfect, thank you!
Because of you I have to read The Thing About Jellyfish. I can’t wait, you make it sound so good.
The morning brightens when your snapshot appears, EB :^) Thank you once again for the helpful information!
Great advice as always keep up the good work.
Can you please make a video on how to write a betrayal that hits the reader in the feels? Please? I really need help. Awesome video as always!
kbear Make the betrayer someone trusted. Like the old guy does to Tom cruise in Minority Report.
kbear Build it up. Develop the betrayer first, and his/her relationship with your character. Make him a dear friend, a mother/father figure, a lover. Make their scenes with your character lovable, make the reader really feel it. IMO, this is done best through strong interactive scenes, chiefly dialogue, which you should work on to the best of your ability. Though it might sound weird, when you're writing dialogue, say it out loud; I'm not kidding. Have the convo your characters are having, with yourself. If you can sense the flow of the convo, if it seems natural and has the right emotions behind it, then congrats, you've just written something your reader will feel too, and the betrayal will hit them like a train in the face when it comes. To quote Robert Frost; "No tears in the writer, no tears in the reader. No surprise in the writer, no surprise in the reader."
If you feel it, then others will too.
@@ClintLoweTube awesome thanks!
@@TheaTheGenius wow thank you so much!
thank you so much, your videos have really help a lot with something that I am working on...
Loved this video. Came about just in time I got stuck.
creating a sense of conflict greatly differs from creating a proactive scene. In most of the scenes you mentioned, the protagonist is faced with some sort of problem and whatever he/she does next is merely a reaction to that problem, hence the proactivity aspect is absent.
Sadness is when you realize that by the end of August, Ellen will disappear again...
whut?
so sad. its okay we will see her again next year :)
Floyd Looney shes always busy with work
Can you make a video about techniques to raise stakes & a video about how scene goal and scene purpose connect?
🙏💪
Thank you very much, your channel help me a lot! 😊
Helpful. Thanks. You are some smart.
Watching more of these
Can you make video about Japanese light novel and how to start it?
Rian An 冗談だったね？
I felt like how when Harry Potter changed goals, that was him being reactive not proactive. Maybe I just fail to see how they differ in that situation.
Cool!
Omg ily u r awesome
Thank u so much miss allen?
I'm at a loss over this. I've been reading this stuff about proactive vs reactive scenes, and I look at my own stuff, and the stuff written by others, and I don't see it.
For example, in the beginning of my own book, the protagonist and her mother is baking bread, and the protagonist notices that the sun is already coming up, which means she has to hurry to her friend. Her mother asks her to take out the bread from the oven, but she doesn't have time to, as she needs to go right now.
This very, very short bit could be seen as a "goal" (to leave the house in order to go to her friend) and a complication (her mother wants her to take out the bread from the oven).
So why is or isn't this a scene on its own? It's literally only one page long, and about her stepping out of the house.
She then goes on to try to sneak through the village, trying not to get caught by the patrolling guards. Since she isn't caught by the first few guards, she achieved the goal of those tiny scenes, against that complication of the guards?
Then she is caught, and she has to bribe the guards.
And I can look at this as a series of small scenes, or I can look at this whole event as one scene.
Or, I can look at the entire story of the entire book as one scene, where there is a distinct goal that the protagonist is working towards, and a bunch of conflicts, similar to those guards.
So just where are the actual scenes? If scenes are the smallest building block, then each guard she managed to sneak past is one successful proactive scene. That'd be absurd, wouldn't it?
We can stretch this as far as saying "the protagonist wanted to go through the door, but the door was closed - and she successfully managed to open the door using the handle". Goal, complication, result. One scene?
This link might be useful to you. It talks about Dwight Swain's scene/sequels and motivation-reaction units:
www.advancedfictionwriting.com/articles/writing-the-perfect-scene/
Hey Ellen (HMU)....I love your enthusiasm...maybe we could work together 🤷🏾♂️
L❤️ve her!
No dislikes. Because, how could you?
The Thing About Jellyfish is awfully ambitious to write in second person. I've never seen that in a novel with the rare exception of the narrator making asides to the reader.
What was her point to use the word "Dog" twice in less than 5 words?
The three-headed dog is from Greek mythology
JK Rowling huh? I've heard of her before. I should give that one a try. That whole thing with the poltergeist and kids duelling at night sounds pretty hardcore.
Beats me how you can quote that plagiarising Potter woman. She's lowered the bar. Now we are overrun with The Femme; the work, insipid, diluted; the Film Industry, a shining example. I'm sick of women "artists" thrusting their saggy vaginas in my face. It's time Art reclaimed its balls. Love and kisses. Alice. xx