Setting the Stage and… LIGHTS…CAMERA…ACTION!

Okay, here's a tip. When writing a scene you must think of yourself as a stage director. So let's start there, say at the end of row three in a semi-darkened theater. But we want to do this exercise "in character" since this what you must do when you are writing your story. You must manage (juggle) character, plot, scene, setting, tone, dialogue, pace, conflict, tension and action. A lot to deal with, huh?

Let's color you in as "the director." I'm thinking short and pudgy with a bit of Napoleonic complex. Loves power. So how do we "show" these character traits? I always start with a name. We haven't determined if the director is male or female, but let's call her "Lady Di" (short for Lady Director).
This won't work? Any ideas why?
"Lady Di" is a powerful name – a name that will evoke strong images – beautiful, graceful, elegant, and tragic – to name just a few. If we called the director "Lady Di," these existing images and associations will conflict with the character we are trying to create. So, if we want to stick with "Di" as the director's name, it must be male director. Let's call him "Mr. Di."

"Carla, where's my Bloody Mary? You know I can't begin a morning stage set-up without a Bloody Mary," Mr. Di says while slapping his riding crop repeatedly against the top of a knee-high riding boot.
Mr. Di's personal assistant presents Mr. Di his Bloody Mary, her hand shaking slightly.
Mr. Di takes a sip and frowns. "Not enough Tabasco, Carla. Can't you do anything right? "

So what does this little bit of dialogue tell us about Di?

1. Possible substance abuse issue (Bloody Mary)
2. Rude, offensive, critical, and intimidating (lots of one-word descriptors fit this guy with 'Jerk' being the kindest.)
3. Given to use of "power props." (What does carrying a riding crop to work say about Di – not to mention the riding boots?)

Okay, you get the idea. Let's return to the stage where your scene is about to unfold. What kind of backdrop do we want for our stage? Tropical island? Nope. Too upbeat. A New York street scene? No. Still not right. Hint. It was a bit of a trick question. We already have the perfect backdrop. It is the semi-darkened theater and empty stage. What better place to showcase our cranky, and perhaps power-mad, "director?"

At this point we have a setting, we have tone, we have some tension, but no real conflict. To introduce some conflict, let's assume that Sergei (see prior blog post) and his teenage daughter are at the theater. But why is a fast-food worker and sometimes reluctant hitman even at the theater? Fair question. So let's assume that Sergei has opened up a small catering business. After all, this is America, where Sergei can be whoever and whatever he wants to be, right?

"You there," Di says, pointing his riding crop at Sergei's daughter. "Give me a spot on the girl," Di commands. A glaring spot light suddenly illuminates Sergei's daughter, causing her to flinch. Mr. Di grabs the girl by the hand, pulls her near, and rips open the top of her blouse.
"Carla! She won't do. She has no tits." I told you. The part calls for girl with big tits. Can't you do anything right?"
"Get your hands off her," Sergei roars, dropping the box of sandwiches he was carrying, his hands balling into fists.

Clearly Mr. Di is not a very nice person and this particular case of mistaken identity with Sergei's daughter is likely to cost him dearly. Now the scene we've just viewed is not fully developed, and the characters are still sketchy, but the point is to get you to think about your scenes in a "stage setting" context with characters entering, acting their parts, and exiting. We also want to present them against a backdrop that enhances the scene. The nearly empty theater allows us to focus almost entirely upon the boorish behavior of Mr. Di.

Think first about what you want to accomplish in a particular scene – and what you wish to reveal about your characters. In this scene, I wanted to reveal a bullying director. Think this scene unrealistic? Think again. I have a friend who is a stage actress. Her director is just as abusive Mr. Di and thinks nothing of "manhandling" her and the other actresses. To be fair, however, he does not carry a riding crop or wear knee-high riding boots to the theater.

Based upon what you know about Di and Sergei, what is going to happen next? How will Sergei and Carla react to Di's terrible behavior? Will Carla quit? Will Sergei's daughter defend herself? From whose Point of View (POV) do you want to present the scene? Whose emotions do you want to showcase? Do you wish to go with an omniscient POV? Perhaps go with Carla's POV. Sergei wasn't there for the entire scene, so we probably should not use his POV.

It's an interesting exercise. Have fun with it. Happy writing!

Bob