From Chapter 21. Using The Plot Sequence Report To Create Your Scenes

Question: How do you use the variations on the Plot Sequence Report to create scene events? Do they appear in the characters' dialogue? In their actions? How do you materialize them into actual scenes?

Answer: Good question. First we have to define what's a "scene event." The key word here is change. Unlike genre, theme or character items, plot events must keep on moving. They must start with a status quo that changes and evolves into a different state of affairs and they must do this in every scene of our story.

So, in order to create a scene event with a Variation from the PSR, we need to identify first the initial situation, then the concluding situation, and then how is that particular Variation creating this particular change.

Say: suppose we're writing a story about a reconciliation. Suppose we start with an original scene where the couple is separated and then, in the next scene, we'll have a scene where the couple is reunited again. With these we have identified the initial and concluding situations. Now we need to know how it happens. Suppose the PSR tells us this scene event is done through "Closure." We ask ourselves "How is Closure bringing these two persons together?" "How is 'bringing something to an end or completion' the change that heals their love and reunites them?"

We think for a minute and conclude: "one of them must put an end to whatever was driving them apart." Suppose we encode the scene with "Mike is willing to end his dream of becoming a rock musician in order to save his marriage with Laura."

Now, in its final form, in the actual screenplay, "Closure" will be implied by the characters dialogue and actions. Let's say:

EXT. MIKE AND LAURA'S HOME - DAY

A TEENAGER with long hair and ragged jeans rings the door bell. LAURA answers the door.

LAURA

Yes?

The Teenager reads from a "classifieds" paper with some ads circled in red.

TEENAGER

Is-- uh, Mike Williams here?

Laura sighs, tired.

LAURA

You're kind of young to be one of his rocker friends. He doesn't live here anymore.

TEENAGER

Uh-- I just wanna see the drum set he's selling.

Laura looks perplexed.

LAURA

He's selling his--?

At that moment MIKE comes running down the street. He has cut his hair and has a much cleaner look.

MIKE

Sorry, honey. This will take just a minute.

(to the Teen)

The set's in the garage.

Laura stares at him in awe.

LAURA

You're selling your drums?

He nods and looks her in the eye.

MIKE

I decided I care more for you than for my rock and roll pipe dream.

She smiles, hugs him and kisses him.

LAURA

(to the Teen)

Sorry, the drums are no longer for sale.

She lets Mike in and closes the door.

As you see, Mike's resolve to ends his dream is here, but is not said directly. He only says his love for Laura goes beyond his lifelong dream. Also, the Variation is no longer necessarily in effect (Mike doesn't sells his drums in the end, nor have to stop pursuing his dream), but it served as the key to reunite the lovers again. The change is made and the story moves on.

That's one way to create scenes events with the PSR, another would be to identify just the initial situation and let the Variation (and mostly, your muse) take you to the next situation. Whatever works for you and --as always-- as long as you're happy with the story your writing.