Tag: revisions

Chapters and Scenes: Determining How Long They Should Be

Jeffe Kennedy / / Blog


This week at the SFF Seven, we’re talking about Managing Word Count. Do we rewrite to hit a certain number? Do we have a chapter/scene word allotment?

So, a lot of you know that one of my nicknames is the Meticulous Volcano. This comes from me being born on the Leo/Virgo cusp, which a friend informed me makes me a meticulous volcano and they’re not wrong. I really am half and half – and this shows up in many ways. Yes, I have the passionate Leo nature, but I’m also the detail-oriented lover of spreadsheets. In my writing, this manifests in my total, far-end gardener/pantser/write for discovery process, which I track down to the tiniest detail, with charts.

Do I have a chapter/scene word allotment? Yes, I do. It varies from book to book – something I land on intuitively – with some books and series running to longer chapters and some to shorter. The shortest chapters, which creates a brisker pace, are generally about 6-7 pages long, or about 1,700 words. Longer chapters give a more epic feel, a more luxurious pace, and can be as long as 23 pages (my record) and about 7K words long. On average, however, I keep longer chapters to around 16 pages or 4,500 words.

For scenes, I follow the 3-Act 8-scene structure, which looks like this:

Act 1 Scene 1 12.5% Initial set-up, establishing shot, life before
Act 1 climax Scene 2 25.0% All stakes are set
Act 2 Scene 3 37.5%
Midpoint Scene 4 50.0% Midpoint pivot
Scene 5 62.5%
Act 2 climax Scene 6 75.0% All is lost
Scene 7 87.5% often the same as Act III climax
Act 3 climax 90.0% Final climax
Scene 8 100.0% Denouement, life after

Mostly I use this structure as a series of guideposts, to know where I am as I write the book, which is always linear, from beginning to end. And this helps me to predict when I’ll finish. Once I have Scene 1 complete, I can predict the final word count (8 times the word count of Scene 1). This number is solidified once I have Act 1 in place. Generally my books are 85K – 120K words long, so how long the individual segments are varies from about 11K to 15K words.

In truth, “segment” is probably a better word than “scene,” as applies to my novels. This structure is from screenwriting, so scenes can be more or less a single sequence. For me, a scene in this context is a contiguous segment of the story, one where a particular mini-arc is begun and completed.

As for rewriting to tighten the shape? Sometimes I do that. Usually not. I often worry that some segment will bulge out and need trimming, but it usually is fine by the end. Sometimes I break up chapters or trim parts that go on too long. Mostly I let the numbers be a loose guideline and I decided intuitively how to edit.

 

The Intuitive Approach to Avoiding Writing Repetitive Scenes

Jeffe Kennedy / / Blog

Yesterday I took Kelly Robson on the mandatory-for-all-creatives pilgrimage to see Georgia O’Keeffe’s home and studio. This was my fourth time and as shimmeringly inspirational as the first time.

Our topic at the SFF Seven this week is how to avoid writing repetitive scenes.

I confess not much springs to my mind on this topic, probably because I’m much more of an intuitive writer than an analytical one. Even in revision – arguably the most analytical phase of my process – I don’t pay a lot of attention to whether scenes are repetitive. I do notice repetitive information, or emotional exchanges that have happened before. But so far as analyzing for goal, motivation, and conflict (GMC) – which is where this topic seems to have sprung from, regarding questions to ask to cull out repetitive scenes – that’s just not how I think about story.

So, how DO I avoid repetitive scenes? I think it helps that I’m a linear writer. I write from beginning to end and thus the story trajectory is always in my mind. That’s part of holding the thread to me.

It also helps to approach the story from a character-driven perspective. This is part of what people are getting at with GMC – it’s an analytical lens on character. If you’re an intuitive writer, like me, you’ll want to be in the flow of the character’s thoughts, emotions, and personal journey. Sometimes they might regress, as our growth isn’t always linear, but those steps back before the moving forward again can be important to the story.

Finally, probably the most analytical I get, I look at each scene as I’m revising and pay attention to what it’s accomplishing in the overall story. What aspects of the plot is it advancing? What questions are being asked and answered in the scene? How does this deepen or strain the relationships between the characters. Occasionally I’ll have two scenes doing more or less the same thing, and then I might consolidate them – or tweak the later one to be adding something new and different.

One thing I think is really important to keep in mind – especially in the face of the GMC/analytical types, who tend toward making a clean (and therefore somewhat sterile) formula for the story structure, to my thinking – is that not every scene has to “advance the story.” This is especially true in genre writing/escapist fiction where some of the story is there for the sheer joy of it. There is nothing wrong with having parts of the story exist entirely for sensual delight. Even in the most rollicking plot, we sometimes need a bubble of space to breathe, to relax a moment, for the characters to remember what they’re fighting for.

In fact, don’t we all?