Asymmetric Information and the Arc of the Scene
Most authors understand that there is an arc to the overall novel–the Story Arc which consists of:
Within the larger story, there are many smaller stories, "scenes" created with this same arc, that come together to create this all-encompassing drama. The way these scenes unfold is what keeps our readers interested and invested in the narrative until the end of the book.
In his seminar on the arc of the scene, author Scott Driscoll explains how the main difference in the arc of the scene vs. the overall arc of the novel is this: the end of the scene is the platform from which your next scene launches. This means each scene begins at a slightly higher point on the novel’s narrative arc than the previous scene did, driving the narrative.
In my mind, this means that novels are like Gothic Cathedrals–smaller arcs of stone support the larger arcs until you have a structure that can withstand the centuries. Each small arc of the scene builds and strengthens the overall arc of the greater novel.
These small arcs of action and reaction ensure the plot doesn't stall and create tension that drives the story to the four cardinal points of the story arc.
Conversations are scenes that form a fundamental part of the overall arc: they begin, rise to a peak, and ebb. They inform us of something we must know to understand the forthcoming action. Conversations propel the story forward to the next scene. A good conversation is about something and builds toward something. J.R.R. Tolkien said "Dialogue has a premise or premises and moves toward a conclusion of some sort. If nothing comes of it, the dialogue is a waste of the reader’s time."
That is true of every aspect of a scene: action, conversation, reaction. A scene that is is all action can be confusing if it has no context. If there is no silent witness (an omniscient presence if you will) a properly placed conversation can give the reader the context needed to understand the reason for the action.
A certain amount of context can arrive through internal monologue, but it must be done in such a way that the reader is not faced with a wall of italics. There are two problems with long mental conversations:
Plot points are driven by the characters who have the critical knowledge. The fact that some characters are working with limited information is what creates the tension.
Consider the concept of asymmetric information–a situation in which one party in a business transaction has more or superior information compared to another. In business, one individual's pursuit of pure self-interest can prevent other companies from effectively entering and competing in an industry or market. He/she has the critical knowledge they don't have and effectively eliminates his competition. He has a monopoly.
That monopoly of information creates a crisis. In the novel, a conversation scene should be driven by the fact that one person has knowledge the others need. Idle conversation will bore your reader to tears, so ditch the smalltalk.
We deploy info, but we don't dump it in one large chunk though--the reader must find it out at the same time as the other characters, over the first 3/4 of the novel.
We do this in small arcs that combine to form the overall story arc. Events occur, linked by conversations, forming small arcs (scenes) that support the structure of the novel.
By creating small arcs in the form of scenes, we offer the reader the chance to experience the rise and fall of tension. This is a pulse which never completely falls but is always increasing toward the high point of the book, giving the reader small rewards of emotional satisfaction along the way to the big event, the grand climax.
Connie J. Jasperson is an author and blogger and can be found blogging regularly at Life in the Realm of Fantasy.
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This post first appeared on Life in the Realm of Fantasy as The Arc of the Scene by Connie J. Jasperson © 2015 in July of 2015. It was re-edited and recycled on July 19, 2017 and is reprinted here by permission.