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Post A Note > The Forum  > Open Question Week > Transitions
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Marzipan
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« on: June 10, 2012, 02:08:48 AM »
Why is it that making transitions between scenes is so difficult? I know what happens next, but putting it on the page feels like trying to pull a small sock onto a wet foot :-P
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lizbeth
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« Reply #1 on: June 10, 2012, 07:42:33 AM »
I am a big fan of outlining, that way you know what comes next. I kind of get into a rhythm of writing and then I'm sure of the next scene. I hope that helps!
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Marly
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« Reply #2 on: June 10, 2012, 11:24:08 AM »
Transitioning can indeed be difficult.  For me, the challenge is doing it without sound awkward or forced, or without giving a whole bunch of boring details.

My solution has been to keep it short and sweet.  “That night…” or “The next morning…” or “Back in her chambers…”   Stuff like that.  It’s still a wet foot, but at least it’s a bigger sock.  (Love the analogy by the way, LOL!)
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Humi
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« Reply #3 on: June 10, 2012, 01:29:28 PM »
love the analogy!! heheehe wet sock..no wet foot, small sock. yeah Tongue
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Sundale
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« Reply #4 on: June 10, 2012, 02:20:06 PM »
What helps me is I think of a scene change much like a scene change in a movie or TW show.  A prime example from my own work is one scene ends in a mission briefing, the next starts with my characters on the mission.  I ask myself: What would they show first?  What's the first line?  What's happening?

You don't necessarily need a connecting phrase.  You do need to be sure you tell the readers where you are within the first paragraph.  Not a detailed description mind you, but enough to make it clear "ok, we're in a tank on the mission now.  Got it."  You could wait till the second paragraph, but only under very exact circumstances (I.E. you POV character has some internal thoughts he's dealing with first).  But even that should hold some idea of the current situation, however minor.

Another example; I started one new scene with, "My third birthday began with a thick mist that covered scent and tree alike.  I suppose it's better than the windstorm I got for my second."  Lots of info, two sentences, and no connecting phrases, which after a while can become rather stale.

My only other advice is don't think too much.  We novices fall into the trap of over thinking what we "need" to do.  Connect the dots yes.  Tell there reader where we are now and what's going on yes.  But don't make it a final exam for your SAT.  Like everything else, weave that info into the words you're using.  Your readers aren't dumb.  Give them some hints, they'll keep up.   Cool
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Marzipan
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« Reply #5 on: June 10, 2012, 06:52:38 PM »
Thanks people! Lizbeth, I agree, outlining can be a huge help. I've shied away from it (with short stories, I can get away with that) simply because once the outline is done, I feel like the story is done, and the magic is gone. But it certainly can help one get their thoughts in order.

Marly, I agree with you completely. While I already know what's going to happen next, it's a mental challenge to make it sound seamless on the page! Blech :-P

Humi, that analogy came to me while I was wrestling with a sock after the shower one day. Go figure :-D

Sun, thanks for all the advice. It sounds to me like you're describing the "show don't tell" rule, of which I'm a huge fan. Sometimes it's difficult to tell the reader where my MC is etc without actually telling them, but it's got to be done. And i like to think that I succeed at that, at least on some level. I wonder if, sometimes, I'm having trouble because I'm not satisfied with where the previous scene left off. That was part of my problem with last night's scene. I had to add a little wrap-up. Then again, sometimes I'm not sure where to pick the next scene up. I know what what the scene will look like but I'm not sure if it should start in the driveway or the kitchen.
« Last Edit: June 10, 2012, 07:06:04 PM by Marzipan » Logged
MaryR
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« Reply #6 on: June 11, 2012, 11:18:48 AM »
Even with outlining, transitions can be a challenge.  You don't want to bog down the story with plodding details about how your POV spent his boring day at work, but the question becomes; do you leap from here to the new scene via a skipped line and teleportation, in effect, or do you use a verbal transition? 

Pacing is a big factor in deciding how to make that move.  If you are skipping scenes often, a * (skipped line, very abrupt) transition will give the story a jerky fast-forward feel, but it can add energy.  That may work for you or it may not, depending on the type of effect you are trying to create.  If you do this type of transition, do NOT forget to immediately establish the three W's in the new scene:  Where is this, Who is the POV, When is this, relative to the previous scene.  Otherwise your readers flounder.

A verbal transition will give you a smoother feel, but adds less energy to the page.   But that may be the better choice, depending, again, on the effect you are trying to create. 

Mary Rosenblum LR Web Editor
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Marzipan
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« Reply #7 on: June 11, 2012, 01:41:15 PM »
Thanks Mary! I do a lot of skipped-line transitions. How do I pull off a verbal transition? Is that the "Meanwhile, back at the ranch"?
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Sundale
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« Reply #8 on: June 11, 2012, 03:44:08 PM »
I admit, not sure what a "Verbal transition" is over any other type either.
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Marzipan
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« Reply #9 on: June 12, 2012, 12:06:36 AM »
Oh good, I'm not the only one :-D
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Humi
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« Reply #10 on: June 12, 2012, 02:14:49 AM »
shower! yeah that i get Cheesy

btw dont u think if u leave the chapter at an interesting point - or a scene - transition to the next phase becomes easier on its own?

and by verbal i think *think* it means inserting dialogue or monologue (yeah not the narrative but mind talk)

its funny i've never thought abt transitions before...hmmm...
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MaryR
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« Reply #11 on: June 13, 2012, 01:42:48 AM »
A verbal transition is just a quick summary of 'back at the ranch'...and don't EVER use that unless your tongue is firmly in your cheek, okay?   Wink

Here's a verbal transition.  Jared got up to find a talking armadillo using his toaster to heat up a flattened horned toad he was going to have for breakfast.  After a brief, before-coffee/hung over conversation, the armadillo, named Fred, disappeared.   Next scene is going to be after work, when the armadillo shows up at his favorite watering hole.  Here's the transition. 

Jared fumbled the coffee into the maker and by the third cup decided that he needed to lay off the Argentine wines. Cheap yeah, but they probably used all that DDT the US got rid of and that probably explained this morning's hangover.   He finally headed off to work and mercifully, his boss was out in the field and he could actually get a day's work done without interruptions. That called for a celebration and at 5:14 sharp, he pushed open the door of The Flytrap and straddled his usual stool at the south end of the teakwood bar. 

There you go, one boring workday done with. 

Mary Rosenblum LR Web Editor
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Marzipan
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« Reply #12 on: June 13, 2012, 02:40:44 AM »
Mary, the day I use those words, my tongue will be so far in my cheek, it'll be sticking out the other side. Promise. Thanks for the example, that helped :-) My tendency is to skip a line even if I do summarize the in-between time. I'm not sure why that is. It'll be a challenge for me to transition without doing that. Tally ho.

P.S. - I want to meet that armadillo.
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ann
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« Reply #13 on: June 15, 2012, 06:37:01 PM »
Isn't this * what you can use also as a transition.
Ann
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Marzipan
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« Reply #14 on: June 15, 2012, 08:45:43 PM »
It is, but I thinks it's pretty much the same as a skipped-lines transition. To me, skipped lines feels more like time passing, where as the * feels like a change in location, maybe change in MC. But that's just me. I have absolutely no reason to think these things, other than the feeling I get when I see skipped lines or * on the page.
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