Have you ever read one of your scenes and felt… just… totally uninterested? It’s likely your scene is falling flat.
Don’t worry! There are a lot that can be done to re-inflate a fallen scene. Sometimes it’s difficult to find the best way on your own, though. So I have put together a few techniques I like to use when I help writing scenes with my authors:
Rebalance of Exposition, Action, and Dialogue
Action, exposition, and dialogue are more or less necessary for every scene of your book. It’s likely you do already have all three, but different scenes require different levels of each. Though these numbers will vary for you based upon your style and genre, there are some widely-applicable guidelines for authors.
My rule of thumb is based upon an estimation of page inches rather than word count:
Dialogue should not exceed 70% of the pages
Action should not exceed 50% of the pages
Exposition should not exceed 30% of the pages
These percentages are based upon page inches because though dialogue takes up less density on a page, the changes in voice and quick implications made in it give readers the most work to do per word. This increases in density and decreases in work with action, and then it does again with exposition.
Rebalancing can mean finding ways for a character to talk about exposition like the weather or confront a character taking actions. And a lot can be said in a single look one character gives another. There are ways to write captivating scenes that are missing one of these elements of writing altogether, but it’s a great place to start if you have a scene that feels stodgy.
Level Out the World Building
Look, if you’re not Tolkien reincarnate, it’s very unlikely you can pull off pages of world building with little consideration for balance.
Many of my favorite authors to work with initially come to me with very precise descriptions for rooms as soon as characters enter it as if they were preparing for a D&D battle. It’s a good place to start because it shows you have a very clear idea of your world, but slowly I try to help them move away from prescriptive descriptions and instead capture the ambiance of the room and a few details to fill it out and inform later actions by your characters.
No world building makes it hard to engage a reader, but too much detail will overwhelm your scenes.
Involve More Characters More Deeply
Most stories include more than one character. If you focus too much on one, it may dim the reality of your book to readers.
How many stories have you read where a secondary or even tertiary character is your absolute favorite? For me, it’s most of them, but they can’t become that kind of character if they are only there to be a yes man for your primary character.
Give your secondary characters page time with interesting moments of action and dialogue to grow. Too much of this can detract from your main story, but not including it will make your fictional world too perfect and not feel approachable.
Pump Up the Conflict
No conflict means no story on every scale. Raising the stakes and adding a splash of tension will do wonders if your story seems boring. This may not feel innate, but problems arise in every walk of life.
Get two characters bickering about something stupid. Put a clock on their timeline that adds pressure. Make someone feel uncomfortable. Build anticipation or dash expectations. There are an infinite number of ways to do it. Just make sure it’s serving your larger story in some way too.
Adjust the Pacing
What do your characters need right now in their story? Your scene might be rushing them through the story when they need a moment to pause and reflect. Or maybe time is moving too slowly when they need to be making a train.
This is another adjustment made by rebalancing dialogue, action, and exposition. In general terms, dialogue moves quickly, action moves moderately, and exposition moves very slowly. Though dialogue can feel slow if a character is in a rush out the door, and that is a conflict that will raise the stakes. Generally speaking, finding the right balance here will help set the proper mood for the scene.
Reword Awkward Sentences
This one is relatively simple, and one we have to adjust in copy editing all the time. The reason your scene is falling flat may not be literary. It can be highly technical.
Awkward sentences make for awkward scenes. So do awkward word choice. Read your scene aloud and see where you stumble. Even if you’re a terrible aloud reader like I am, you’ll immediately see where you get frustrated, tired, or confused. Then adjustments are simple.
Cut the Scene
Have you been working and reworking a scene only to find it twist and warp into something unmalleable to the point where you are arguing with your pages? Cut it.
Is it an unnecessary side story that just isn’t working? Great, cut it. Is it a crucial moment in your story that absolutely must take place? Great, cut it.
Overworking the same words ad nauseam doesn’t work. Even if it’s a scene you absolutely must have, starting from scratch will allow you to avoid pitfalls you came into contact with the first time without having to squeeze solutions between your favorite paragraphs. If they’re meant to be in there, they’ll find their way back. Cut the scene.
Fixing problematic scenes is arguably one of the most difficult parts of the revision process. If these tips don’t work, it’s possible you’re too close to the project right now to see what kind of changes your scene needs. Take a breather and try again after you’ve had some space.
If you’re still struggling, then reach out to writer friends for a scene swap or consider a single session with a book coach to get a fresh set of eyes. You’ll get there.
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