Anatomy Of A Screenplay Scene

Scenes are the building blocks of screenwriting. They are more than stepping stones from the start to the end of your screenplay. They need thought, purpose, and effectiveness to make them feel like a seamless journey across your story. Scenes should be thought of as interlinking pieces of a story puzzle rather than components that can randomly be shuffled and rearranged. They should be self-contained vertebrae along the s pine of your story.

Here are some things writers should consider before they start writing each scene:

Purpose

This actively defines what story components the writer wants to convey in a particular scene. This is more than describing what happens. It’s also about why it happens, how it happens, and who it happens to? To begin, think about the location and unfolding elements of surprise. Audiences love surprises that alter their frame of reference a few degrees and invite them to connect deeper.

For example, if you’re writing a romantic comedy, there is an inevitable “meet cute” moment when couple meets. We’ve all seen strangers  bumping into each other in a bar or in the produce section of the grocery store. (The sweet and juicy metaphor is on full display here). Where else could the fated couple meet? At a zoo? Prison? Court? A silent zen retreat? Stuck in an elevator?

Your job as a screenwriter is to decide that a couple (or more) will meet at a certain point and make that place and their circumstances as surprising as possible. Audiences should be thinking, “I haven’t seen such a familiar scenario play out in such an unfamiliar way.”

Surprises can’t always be organic, inevitable consequences. They could be totally unexpected. Imagine the fated lovers courting each other at a silent zen retreat and police officers interrupt their group meditation and inexplicably arrest one of them and takes them away. What? Why? What will happen next?

Position

This is simply a matter of being aware where you are in the story and how much knowledge audiences already have of the situation, the characters and the conflict. Readers should intuitively sense the difference between an opening scene which typically offers more information as it introduces audiences to your story. Middle scenes typically show the peak action and the closing scenes offer readers a satisfying conclusion.

Readers intuitively understand story rhythms, so unless you’re writing a non-linear or experimental screenplay, honor these story conventions.

Screenwriters should also pay particular attention to the scenes immediately before and after each scene. There should be a logical entrance and exit to ensure a smooth story flow.

Distance

This concept relates to the emotional and thematic coverage from the start to the end of the scene. Think about how far the characters have traveled and evolved in a few pages. If they are the couple in our untitled romantic comedy, imagine their first fight. They might argue about some seemingly minor matter such as not responding to a text message. They bicker, sigh, raise their voices, and express their feelings of annoyance. If there is no clear resolution, then the characters are essentially at the same place they began. They’ve traversed a large terrain of negative emotions, but they really haven’t moved forward as characters.

How else might this scenario play out? What if one character stabs the other in a fit of rage? What if one proposes? That spins the story in a whole new direction. It might even be done in a single page.

Not every scene needs to cover as much emotional distance as this, but be mindful that audiences appreciate a “rollercoaster” ride  knowing that every dip won’t be as dramatic as another.

Texture

Scenes have a delicate balance of reasoning, feeling, and function to keep audiences engaged for the long haul. Every scene should move your story forward, but not every scene should do so at the same velocity. Some scenes are more spectacular while others are more conversational. Both are in service to readers further understanding the characters and propelling the plot. Some scenes are high intensity while others are more meditative and reflective. Utilizethis mix as best you can.

Even high-powered car chase scenes in big budget action movies or blood-curdling butchering in horror movies need softer scenes to allow audiences to process, understand, and reset.

Writers need to be mindful of the feeling in each scene. Every screenplay needs a combination of moods, feelings, and texture to highlight the story – much like a herb mix on a Sunday roast.

Part of the rhythm and flow of each scene depends on their length. Some can be long if a complex idea needs to be explained and run into a few pages. Be careful not to justify very long scenes with excessive or unnecessary exposition. Sometimes, more information can be conveyed by what is not said than what is said. Really short scenes of a few lines can also add impact if they are positioned between key scenes.

For instance, imagine our fated couple at the Zen retreat. How would the story be affected if one of the characters entered the meditation space with a weapon or a secret recording device without a word of dialogue?

Self-Contained

Screenwriters should think of each scene as a mini-movie that stands on its own with a discernible beginning middle, and end. It should also be perceived within the context of a larger story. Think of each scene as jig-saw puzzle piece. It’s distinct and unique and forms an essential part of the completed puzzle. If a piece is missing, it will stand out and audiences will notice.

Think of your screenplay as a game of Jenga. What happens to your Jenga tower if you remove a block? If it doesn’t collapse, you might want to rethink that particular scene.

And finally, don’t forget to make your scenes memorable and entertaining. Audiences will thank you.

by Staff Writer

From our in-house editorial team.